“With Raging, Machado further solidifies a distinct directorial voice, one rooted in emotional honesty.”

Two years after his debut Huling Palabas screened in the Generation 14plus section, Ryan Machado returns to the Berlinale with his sophomore feature, Raging, this time premiering in the Panorama lineup. Set in the mid-’90s, the film follows Eli as he grapples with the aftermath of a reported sexual assault that authorities dismissed as a mere prank.

Machado adopts a restrained, observational approach, immersing us in Eli’s daily routines. He repeatedly listens to his Walkman — a constant companion and emotional refuge. Though he attempts to resume normalcy, it is evident that nothing feels the same. The film quietly captures his growing isolation: he withdraws from those around him, avoiding interaction whenever possible, his hopelessness lingering in every frame.

Given the sensitivity of its subject matter, one of Raging’s most admirable choices is its refusal to depict the assault onscreen. Machado avoids sensationalism, instead relying on shadowy compositions and evocative sound design to convey the weight of Eli’s trauma. The long takes and deliberate pacing feel purposefully agonizing, a slow burn that may test some viewers’ patience despite the film’s runtime of under 120 minutes.

Elijah Canlas delivers a remarkably controlled performance as Eli — fittingly, sharing a shortened version of his own name with the character. In close-ups, he communicates volumes through stillness: repressed emotion flickers across his face, his silence often more devastating than dialogue. It is a performance built on restraint, and he anchors the film with quiet intensity.

Raging steadily builds toward an explosive finale — like a volcano on the brink of eruption, or, as one of the film’s central metaphors suggests, a plane moments before impact. When someone is pushed to their breaking point, suppressed emotions inevitably surface. The film’s understated approach may not resonate with everyone, but those attuned to its rhythm will find its emotional release deeply affecting.

Both of Machado’s features are set in Romblon, his hometown province in the Philippines — a deliberate creative choice that lends authenticity to his work. In his debut Huling Palabas the setting was rendered with nostalgia and tenderness; here, it feels stark and emotionally charged. Regional storytelling remains relatively scarce in Philippine cinema, making Machado’s continued focus all the more significant. With Raging, he further solidifies a distinct directorial voice — one rooted in emotional honesty.

(c) Image copyright – Theo Lozada